The Dogs Are Coming

After Dr. No has been killed by Bond only the dogs remain.

(Dog killing scene in Ian Fleming's novel "Dr.No").

From the book, Dr.No:

"The dogs are coming! There's no one with them.

They're just tearing down the track after us. Will they catch us?"
"Doesn't matter if they do. Come and sit by me. Honey. Hold tight. Mind your head against the roof."
Bond eased up the throttle. She was beside him. He grinned sideways at her. "Hell, Honey. We've made it. When we get down to the lake I'll stop and shoot up the dogs. If I know those brutes I've only got to kill one and the whole pack'll stop to eat him."

Bond felt her hand at his neck. She kept it there as they swayed and thundered down the track. At the lake, Bond went on fifty yards into the water and turned the machine round and put it in neutral. Through the oblong slot he could see the pack streaming round the last bend.

He reached down for the rifle and pushed it through the aperture. Now the dogs were in the water and swimming. Bond kept his finger on the trigger and sprayed bullets into the middle of them. One floundered, kicking. Then another and another. He could hear their snarling screams above the clatter of the engine. There was blood in the water. A fight had started. He saw one dog leap on one of the wounded ones and sink its teeth into the back of its neck. Now they all seemed to have gone berserk. They were milling around in the frothing bloody water. Bond emptied his magazine among them and dropped the gun on the floor.

He said, "That's that, Honey," and put the machine into gear and swung it round and began rolling at an easy speed across the shallow lake towards the distant gap in the mangroves that was the mouth of the river. (Ian Fleming).

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The Nature of No:

With the creation of Dr. No, Bond author Ian Fleming had embodied his villain with all the cruelty of a psychotic torturer but also the trappings of a very modern villain, who had particular a fascination with science and technology. Wiseman captured the essence of this very well. In EONs film version, agent 007 (played by Sean Connery in his debut Bond film), having been decontaminated and temporarily drugged, and now trapped in Dr. Nos multi-million dollar lair deep underground, at one point spots Goyas oil painting of Wellington, and realises his dangerous host still has a taste for culture (of a kind).

This was an inspired touch by the filmmakers. The painting had recently been stolen from the National Gallery in Londons Trafalgar Square and a copy was added to the Pinewood set at the last minute, to the bemusement of early British audiences who immediately got the in-joke in the film. Even more successfully, the script, which explored Nos plans to disrupt the Project Mercury Space launch through rocket-toppling, played skilfully upon early 1960s ambivalence about science, atomic power and super-technology. What now seems to us quaint and strange, with odd ideas about atomic energy and satellite disruption, was to an early 1960s audience exciting and even a little frightening, given the Cold War tensions of the time. But EONs Dr. No also gave people in the audience exotic adventure, colourful locations and what seemed like lashings of permissive sex. It also appeared to herald the beginnings of a new decade of optimism and materialism, especially when compared to the drab years of 1950s rationing in the UK and a series of gritty but bleak domestic dramas produced by British TV.

In 1962, President Kennedy demanded a private White House screening of Dr. No as soon as the film was released.

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Entertainment

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